Pub Date : 2022-04-01DOI: 10.5406/21638195.94.1.08
Anatoly Liberman
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Pub Date : 2022-03-17DOI: 10.5406/21638195.94.1.09
Jenna Coughlin
and formality; the Guthlac A poet, in contrast, wishes to draw attention to the transitions in his poem, while still creating a character with authentic speech patterns whose words hold power over the devils who attempt to persecute him; and the Exodus poet saves his hypermetric passage until the end, where it can stand apart from the rest of the poem and immortalize the story the poet is trying to tell in totem. (p. 51)
{"title":"The Power of the Periphery: How Norway Became an Environmental Pioneer for the World by Peder Anker (review)","authors":"Jenna Coughlin","doi":"10.5406/21638195.94.1.09","DOIUrl":"https://doi.org/10.5406/21638195.94.1.09","url":null,"abstract":"and formality; the Guthlac A poet, in contrast, wishes to draw attention to the transitions in his poem, while still creating a character with authentic speech patterns whose words hold power over the devils who attempt to persecute him; and the Exodus poet saves his hypermetric passage until the end, where it can stand apart from the rest of the poem and immortalize the story the poet is trying to tell in totem. (p. 51)","PeriodicalId":44446,"journal":{"name":"SCANDINAVIAN STUDIES","volume":"94 1","pages":"131 - 134"},"PeriodicalIF":0.4,"publicationDate":"2022-03-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45583727","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-03-17DOI: 10.5406/21638195.94.1.04
Bettina Perregaard
In 2015, Linn Ullmann published her autobiographical novel De urolige (2015; Unquiet [2019]). The novel deals with the relationship between parents and children. The main characters are simply referred to as the mother, the father, and the girl. Although they appear nameless, Ullmann’s parents are easily identifiable as the Swedish director, author, and producer Ingmar Bergman, and the Norwegian actress, author, and director Liv Ullmann. The novel alternates between a third-person perspective and a first-person narrative written from the girl’s point of view as she grows into adulthood. The mother, the father, and the girl do not constitute a family in the ordinary sense: “Jeg var hans barn og hennes barn, men ikke deres barn, det var aldri oss tre” (Ullmann 2015, 10) [“I was his child and her child, but not their child, it was never us three” (Ullmann 2019, 4)]. The girl suffers from the way things are: “Egentlig tror jeg at jeg har sørget over foreldrene mine hele livet” (2015, 74) [“To be honest, I think I have mourned my parents all my life” (2019, 68)]. In focusing on the relationship between parents and children, De urolige resembles other autobiographical novels recently published in Norway: Knausgård (2009), Wassmo (2013), Hjorth (2016), to mention only a few. But unlike the parents depicted in these novels,
2015年，Linn Ullmann出版了她的自传体小说《De urolige》（2015；Unquiet[199]）。这部小说讲述了父母和孩子之间的关系。主要人物被简单地称为母亲、父亲和女孩。尽管他们看起来没有名字，但乌尔曼的父母很容易被认出是瑞典导演、作家和制片人英格玛·伯格曼，以及挪威女演员、作家和导演丽夫·乌尔曼。这部小说在第三人称视角和第一人称叙事之间交替，从女孩成年后的角度出发。母亲、父亲和女孩并不构成一个普通意义上的家庭：“Jeg var hans barn og hennes barn，men ikke deres barn，det var aldri oss tre”（Ullmann 2015，10）[“我是他的孩子和她的孩子，但不是他们的孩子，从来不是我们三个人”（Ulrmann 2019，4）]。女孩忍受着现状：“Egentlig tror jeg at jeg har sørget over foredrene mine hele livet”（2015，74）[“说实话，我想我一辈子都在哀悼我的父母”（2019，68）]。在关注父母和孩子之间的关系方面，De urolige类似于最近在挪威出版的其他自传体小说：Knausgård（2009）、Wassmo（2013）、Hjorth（2016），仅举几例。但与这些小说中描绘的父母不同，
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Pub Date : 2022-03-17DOI: 10.5406/21638195.94.1.01
Esben Myren-Svelstad
of
属于的
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Pub Date : 2022-03-17DOI: 10.5406/21638195.94.1.03
Anna Tomi
There are piles, heaps, and catalogues of all sorts of things, all loosely arranged for an extravagant show-and-tell. In Wunderkammer (2008), a collection of collage poems by the Finland-Swedish poet Ralf Andtbacka, lists of things are a recurring element that halts the flow of the otherwise voluminous and narrative expression. In a poem called “Thing” (“Ting”), whose name admits close affinity to Rainer Maria Rilke’s Dinggedichte (Thing Poems), one such list starts by cataloguing the most mundane, everyday objects. Very soon, however, the list becomes more fantastic, opening up vistas to various countries,
这里有成堆的各种各样的东西和目录，所有这些都是为了一场奢华的展示和讲述而松散地安排的。在芬兰-瑞典诗人拉尔夫·安德巴克的拼贴诗集《Wunderkammer》（2008）中，事物列表是一个反复出现的元素，它阻止了原本庞大而叙事性的表达。在一首名为“Thing”（“Ting”）的诗中，这首诗的名字与Rainer Maria Rilke的Dinggedichte（Thing Poems）有着密切的联系，其中一个列表首先对最平凡的日常物品进行了编目。然而，很快，这份名单就变得更加精彩，为各个国家打开了前景，
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Pub Date : 2022-03-17DOI: 10.5406/SCANSTUD.93.1.0159
Julie K. Allen
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Pub Date : 2022-03-17DOI: 10.5406/21638195.94.1.05
P. Acker
Ingmar Bergman’s 1960 Jungfrukällan (The Virgin Spring) is unusual among his films in that it does not derive from the auteur director’s own, original screenplay but rather from a medieval source text (a Swedish ballad), which was then adapted for the screen by Ulla Isaksson. In a radio interview conducted just before the premiere of Jungfrukällan in 1960, Bergman says that he first read the source ballad while in university, from Sverker Ek’s 1924 anthology Den svenska folkvisan (The Swedish Ballad), where its title is “Töres dotter i Vänge” (The Daughter of Töre in Vänge).1 Bergman first considered producing a version for the ballet, but then, while on the set of Smultronstället (1957; Wild Strawberries), he decided instead to make a film adaptation (Billquist 1960, 206). He sent the ballad to Isaksson, with whom he worked on his next film, Nära livet (1958; Brink of Life or Close to Life), about three women in a maternity ward. Ulla Isaksson wrote the screenplay for Brink of Life based on two short stories she had published in 1954.2 In 1957, Bergman had scripted and directed another now classic film based on a medieval subject, Det sjunda inseglet (The Seventh Seal), so film critics have sought to explain why he turned to Isaksson for the equally medieval-themed Virgin Spring. Bergman himself said that sometimes (in those days) he just
英格玛·伯格曼1960年的《处女之泉》（Jungfrukällan，《处女之春》）在他的电影中不同寻常，因为它不是源于这位导演自己的原创剧本，而是源于中世纪的原始文本（一首瑞典民谣），后来由乌拉·伊萨克森改编成电影。1960年，在《Jungfrukällan》首演前的一次电台采访中，伯格曼说，他在大学时第一次读到了源曲，源曲来自斯维克尔·埃克1924年的选集《Den svenska folkwisan》（《瑞典歌谣》），书名是“Töres dotter i Vänge”（《Töre的女儿》）。1伯格曼最初考虑为这部芭蕾舞剧制作一个版本，但后来，在《Smultronstället》（1957；《野生草莓》）的片场，他决定改编电影（Billquist 1960206）。他把这首民谣寄给了伊萨克森，并与伊萨克森合作了他的下一部电影《Nära livet》（1958年；《生命的边缘》或《接近生命》），讲述了产科病房里的三个女人。Ulla Isaksson根据她在1950年出版的两部短篇小说为《生命的边缘》撰写了剧本。4.2 1957年，伯格曼又为另一部以中世纪题材为基础的经典电影《第七封印》（Det sjunda inseglet）编剧并执导，因此影评人试图解释他为什么选择Isaksson拍摄同样以中世纪为主题的《处女之泉》。伯格曼自己说过，有时（在那些日子里）他只是
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Pub Date : 2022-03-17DOI: 10.5406/21638195.94.1.11
Kimberly J. La Palm
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Pub Date : 2022-03-17DOI: 10.5406/21638195.94.1.06
Andrew McGillivray
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